Rendering № 5

The editorial published on March, 7 is headlined “Bruce Norris: 'I think we are doomed’”. It carries a lot of comment about uncompromising American playwright Bruce Norris who has the super-rich in his sights as his latest work prepares to open at London’s Royal Court.
The article discusses the situation on people who are changing the guard at the Royal Court Theatre. For his final act after six years in charge, Dominic Cooke has returned to the American playwright whose work he introduced to these shores upon becoming artistic director. A new play by Bruce Norris can mean only one thing. Theatre-goers should start quaking in their Louboutins as he prepares to give them another bloody nose.
It’s interesting to point out that Norris’s speciality is pointing a finger at his well-heeled, self-satisfied audience. The reporter quotes him : “I like to disrupt is what I like to do. I just like to disrupt situations. I don’t like when people seem to think they know the answers or their mind is made up about something”. Analyzing all this, it is necessary to emphasize that the Pain and the Itch scratched raucously beneath the veneer of smug East Coast liberalism to reveal ugly, unpeaceable instincts, although that was an exercise in throat-clearing compared to Clybourne Park, which shone an interrogative arc light intoracial attitudes among both black and white. Moreover, it  won the Olivier and Tony Awards for best new play, and then in 2011 the Pulitzer Prize.
This fact is followed by Norris’s quotation : “I must have had some kind of aneurism,” Norris muses. “I thought, Dominic’s leaving so he can destroy the budget and it won’t matter. The one good thing about having a play be successful like Clybourne Park is that you know that whatever you do next will be judged inferior to your previous work. That way I could say, 'Well then I can do anything I want.”
Besides, there is every likelihood that not that Norris has any faith in mankind’s ability to evolve.  And in plays that sucker audiences as laughs make way for gasps, Norris has taken it upon himself to point this out. Moreover, Norris looks like one of those springy bantamweights who lands jabs and cuts rather than haymakers. His sharp, alert features are framed by a geekier brand of spectacles, and his mordant drawl suggests perpetual bafflement. Giving appraisal to the situation, it’s necessary to point out brief Norris’ biography: Born in 1960, he grew up in Houston, the middle in a brood of three. In 1992 he wrote a play called The Actor Retires. His plays began to be performed in earnest in the early 2000s. Purple Heart (2002) is currently enjoying its UK premiere at the Gate Theatre in Notting Hill. Playwriting mostly in the not-for-profit sector — the Steppenwolf Theater in Chicago has put on seven of his plays – has not made him wealthy, he insists. He rents in Chelsea, New York, and should he so wish, he has enough to down tools for a couple of years. Not that he has. Later this year a new play for the Lincoln Center called Domesticated will feature a philandering US politician. Meanwhile, The Low Road emanates partly from his visceral shock at quite how much money other people have stashed away.
The article concludes with the author quotes another Noriss’ statement: “ I try to walk out of the theatre when the conversation unfolds because the mundane nature of it is sometimes too much to take. It’s too great a distance from your optimistic expectation of the conversation that you would provoke. I mean generally it’s like, 'Huh, I didn’t like that as much as the play we saw last night, so where are we going for dinner?”
I like the article as it gives very useful and interesting information about the world of art, theatre on the example of such a playwright as Bruce Norris. While reading and analyzing the editorial, I have come to the conclusion about his fairness to his own principles and devotion to what he does in spite of his field of works in not very profitable.